For your chance to win, simply tell us the name of the fancy new wireless mixer control iPhone app from PreSonus. Check out the PreSonus Facebook page if you need a clue.

Email your answers with full your full name, full address, contact telephone number to mixdown@beat.com.au. Good luck!

*Competition disclaimer* All Mixdown Magazine competition winners agree to having their loacation, name and photo with themselves and their prize published in Mixdown Magazine and online. All entrants must be residents of Australia.

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By Peter Hodgson

A TOP ARCH TOP
Aimed to ‘make the affordable North American arch top a reality’ the 5th Avenue Uptown GT is  a cutaway guitar with some nice looking woods. A flamed maple top with Canadian wild cherry back and sides and a silver leaf maple neck. The top is a beautiful gloss which brings out the lovely grain whilst the back, sides and neck are a semi gloss which looks like more of a rubbed sort of matte finish. It’s a nice contrast that looks and importantly feels good. Cream binding, black top hat style knobs and a Bigsby tremolo system again mean that the Uptown looks the goods with classic stylings and still shows Godin’s refinements in shape and features. In the hardware department you’ll find two of Godin’s own custom hum buckers, a 3 way toggle switch, volume and tone controls and a roller saddle adjustable bridge with Tusq base made by Graphtech.

UPTOWN GIRL
Again, I like the combination of the gloss top and semi gloss sides, back and neck but I also like the feel this gives. It’s not fully worn but isn’t the super slick gloss and almost gives you a little something to hold onto. Then factor in that the neck isn’t shred machine pencil thin and you’ve got a player. The GT’s hollow body design resonates nicely with sustain and volume that could sit in with blues, jazz, rockabilly or rock. Of course the bigsby looks cool but it also works a treat on this guitar and the combination of it and the roller saddles seemed to hold the tuning in good stead, and could probably withstand a fair amount of abuse.

YOUR LATEST TRIC
I also need to make mention of the included TRIC case which at first might look like a big,  foam case. In fact it’s Godin’s own designed case giving you the protection of a hard shell case with the weight of a gig bag. A cool addition that seems to do exactly what you need.

THE GOLDEN ARCHES
Nothing cooler than an arch top guitar in my books and the Godin 5th Ave Uptown GT has looks in spades. The fact that it plays well and carries a good range of tones makes it a winner. Again, yes this will do the warm round jazz and blues tones but you can also spark up some howling rock sounds making it more than a one trick pony. If vintage hollow bodies are a bit out of your price range, but you want a quality axe, Godin have your answer.

By Nick Brown

Price: RRP $1899
Distributor: Dynamic Music
Phone: (02) 9939 1299
Website: www.godindirect.com.au

GET YOUR MOTOR RUNNIN’
Enter Rocktron with the Cyborg Digital Destiny Distortion. How could a pedal with such an awesome name not blow your socks of and then invade your planet with technologically enhanced beings? At the heart of the Digital Destiny Distortion is a state-of-the-art Motorola DSP engine that allows this digital brilliance and control to take place in the powerhouse of a pedal.

SET FOR LIFE
The pedal is based around eight pre-programmed distortion types presets include that are called: Edgy Coils (single coil distortion), Dirty, Austin (famous Texas distortion), Crunch (kicking bluesy distortion), Corrosive (hard edge grind distortion), Stack (huge amp stack distortion tone), Rectified (modern metal) and Armageddon (heavy metal). On top of this there is a different distortion voicing (Crunch and Solo) per preset. That is 16 presets of chirpy digital glory.

WHAT’S IN A NAME?
Testing these settings through a Japanese Stratocaster into a Mesa Boogie Express with a Pedal Power 2 as a power supply the best settings where the cleaner options. With some fiddling with the gain and level settings the pedal bought out the chirpiness and shrillness of the Mesa. Through a Fender Deluxe the heavier settings where more productive and the Corrosive and Rectified settings certainly bought forth some interesting and inspiring tones. Perhaps the coolest thing about the Cyborg Digital Destiny Distortion (apart from the name) is the ability to connect and control other Rocktorn Cyborg devises via midi creating an endless “pedal centipede” of digital glory controlled by the Cyborg-Centipede-King, the Rocktron Midi Exchange pedal.

The Rocktron Cyborg Digital Destiny Distortion come with a HUSH noise reduction function included. This is a great idea from Rocktron as it helps eliminate unwanted noise produced by this pedal. If you are a guitarist obsessed with have infinite distortion tones available at your toes, then this beast of a pedal is for you.

By Will Teasle

Price: RRP $459
Distributor: Dynamic Music
Phone: (02) 9939 1299
Website: www.dynamicmusic.com.au

Hype – the worst word in a successful band’s vocabulary. It doesn’t help when English music rag NME votes your debut single NME’s 150 Best Tracks of the Past 15 Years. This is the irresistible force that meets The Drums, the immovable object staying true to themselves with their identity-consolidating second record Portamento.  We spoke with multi-instrumentalist and co-founding member Jacob Graham about his increasing time spent behind synthesisers, the BBC Radiophonic Workshops and sticking to the original motives of The Drums.

Your self-titled debut album exploded all over the world with a bang, but recent music history shows that bands who make a successful debut album often take a drastic sonic turn with their follow-up, like Guns N’ Roses’ Use Your Illusion I and II or The Killers’ Sam’s Town. How did you approach the making of Portamento?
It was an honest approach. The song writing is less cinematic and grand than our first album, more rooted in reality.  It’s funny, we didn’t think anyone was going to hear our first record… and the whole world heard it. I think we would have done things differently if we knew it was going to reach a broader audience. We didn’t try to “evolve”… in that wanky sense, we wanted to be as consistent as possible. To be stubborn and stick to writing three-minute pop songs. But I think The Drums have nutted out what we are trying to do. We wanted to finetune things and define ourselves.

What was the band’s inner motive when you first formed?
The reason we started the band was just to make music we love. That’s why we continue. At the time, we were almost pretending to be a different band to amuse ourselves. Our first record didn’t really have any motive; we just dropped it off to the record company and said, “Here you go”. Before Portamento came out, journalists kept asking the band, “Do you think you’ll live up to the hype of the first record?” My answer was always the same – that I don’t care. We just make music to please ourselves. If you aren’t making music that doesn’t interest you, how can anyone make a real connection with it?

It’s hard to keep track of who plays what instrument in the band anymore. Do you have a definite role and instrument in the band?
[Laughs]. I’ve actually stopped playing guitar now in the live show. I’m playing synthesisers now, which was my first instrument. I was never a big fan of playing guitar. In the studio, we don’t really stick to our instruments, it’s a free-for-all. We record less like a band and more like… I always liken it to Alchemists Of Sound, (the 2003 documentary about the BBC Radiophonic Workshops) … anyone can play any part and it all comes together. We scaled back the use of reverb on this record, to enable listeners to pay more attention to microscopic details instead of masking it with big, swampy sounds.

What vintage synthesisers are you playing live?
The main one I use live is the Roland ProMars. It was Roland’s first analogue mono synth, but you can put your own sounds into it. It’s really great live because of that reason, but that doesn’t stop it from being in the repair shop between every tour (laughs).  I also have an old Roland Organ and String Machine, for chords and an old modular synth that we run all of our bass lines off. I have a good deal of gear on stage now. But it can be incredibly nerve-racking. We used to use a lot of backing tracks for our shows and now we don’t… so I control all of those elements now (nervous laughter). All of these machines linked together, so every night I’m sweating it… If one of these machines goes wrong, I’m checking like 20 different cables to see where the problem is! It makes it exciting… like a trapeze artist working without a net. A lot of people think I’m stuck in the past, because I insist on using older machines. I think electronic music has gotten away from itself. It’s almost progressed too much, in a way. Nowadays, you can practically check your emails with a new keyboard. Bands that are using older technology, just seem a bit more tangible and sounds real with textures.

You’re a big fan of synthesiser gurus like Wendy Carlos (who created the film score for A Clockwork Orange, The Shining and TRON) and Kraftwerk. What other synthesiser music are you a fan of?
I like all those Wendy Carlos type world renowned synthesiser pioneer types… but there’s almost this wave of… garage bands, if you like – but instead of guitars, they are using synths, trying to sound like Kraftwerk. There’s a Netherlands-based band called Nine Circles, who are amazing. There’s a band in Brooklyn right now called Xeno and Oaklander, they’re part of a label called Wierd Records. It’s really amazing.

You’re playing Laneway… Are you excited about seeing any fellow acts in particular?
Oh yeah. If I remember the bill correctly, I think Twin Shadow is on the bill. They’ve become pretty good friends of ours; we’ve seen them out and about here and there. It’ll be nice to spend some more quality time with them. The Pains of Being Pure at Heart will be out there… that’ll be nice to hang out with them. I’ve met a couple of the guys in The Horrors, they seem pretty cool. I’d love to see M83 aswell. I haven’t seen a lot of the bands playing live, so I am really keen to see new bands.

By Matt Petherbridge

The Drums will be taking place as part of the stellar Laneway Festival lineup, as well as performing select sideshows with Cults.

January 28 – Laneway Festival, Brisbane QLD
February 3 – The Palace , Melbourne VIC
February 4 – Laneway Festival, Melbourne VIC
February 5 – Laneway Festival, Sydney NSW
February 8 – Enmore Theatre, Sydney NSW
February 10 – Laneway Festival, Adelaide SA
February 11 – Laneway Festival, Perth WA

Slipknot, one of the biggest heavy music acts on the planet, are currently in somewhat of a holding pattern right now, as far as producing any new music is concerned. Recent events, especially the tragic and untimely death of bassist Paul Gray, seem to have put plans for a new Slipknot album on the backburner slightly, and there have been very conflicting reports as to the progress, if any, of what is supposed to be their fifth album. The band’s sampler/DJ/turntablist Sid Wilson seems as up in the air about its progress as anyone.

“Yeah, I hear talk about that (the new album) too!” He laughs, “the band hasn’t got together as a band to write music, so I can’t really say where it’s at. I know there’s people writing music, but I know that everyone in the band, that’s all we do. But I haven’t heard any new songs for a new Slipknot album.
“It’d be nice to get together to do a new album, but unfortunately there are things that need to be dealt with first.”
What hasn’t ceased is the demand for Slipknot in a live sense, even when there’s no new album. The band return to Australia very soon to co-headline the mighty Soundwave tour with System of a Down, followed by another festival headlining spot on the Mayhem Tour across the States in July.
“Yeah, absolutely,” he agrees, “and hopefully while we’re out on the road together, we’re able to work some of this stuff out. Most of us don’t live in Des Moines any more, and even the guys that do still live in Des Moines are always busy, travelling back and forth and trying to work everything else in. It’s hard to get us all together!”
Sid himself is no exception, having plenty of musically related projects to keep him busy outside Slipknot albums and tours. “Yeah, I’ve been producing a lot,” he explains, “I’ve got an album, a solo album called SID that’s just come out. It’s available digitally, everywhere online, iTunes. Another album I produced just came out on December 30 called Repeat, it’s a girl rapper from Venice Beach. Her name’s ‘The Keen One’. So I’ve been promoting those two albums. I was down in LA, I just got back from there. I filmed a video, I went to the NAMM show and saw some really cool products, some of the cool stuff I’m doing with Korg and some other types of equipment I’ve been working with.”
Speaking of equipment, Sid was only to happy to tell us about the gear he uses, and what he feels to be some of the issues that exist in the creation of modern music, and more specifically modern electronic music.
“I’ve been using Technics turntables,” he begins, “mixers, I’ve been going through all different types of mixers. I actually stopped picking out endorsements for a few years, I wasn’t happy with the direction that some of the equipment was heading. I was just wanting to be a little more involved in the feedback, and hoping the equipment moves forward, and doing things live using vinyl. And also catering to the new styles of Djs. I couldn’t get anyone to jump on and get it done properly, and make sure we have vinyl still be involved with it.
“Now most of the companies are ruining most of the ideas that I had in mind, they’re leaving the vinyl part out of it,” he continues, “so it’s like, DJing with vinyl, and scratching and so forth, is becoming a dying breed. Technics actually stopped making turntables. They made the best turntable on the block, so when a company like Technics, which is also a part of Panasonic, feels no need to make the world’s best turntable any more…it’s like they stopped making guitars! So I want to get more involved with companies moving forward with that. I’m definitely interested in talking to all these companies to find out what we can do to help the vinyl DJ.”
Sid feels that one of the major issues in the electronic music scene today is that the new technology is making things too simple for people to create music with, and that there is no self-reliance when it comes to fixing new technology when it breaks down. This contributes to some of the classic gear going the way of the dodo bird.
“With the experience that I’ve had in Slipknot, we have a different respect for the way music’s created,” he states, “a lot of people these days, you give them a computer program that just does a lot of the hard work for them. You don’t have that same respect for the process. They’ll do whatever’s the quickest and easiest way to get it done, rather than paying attention to a lot of the details that go into making music.
“Learn about your gear too,” he preaches to younger musicians and electronic music exponents, “don’t let gear become extinct. If something breaks or stops working, learn why it’s not working. Open it. Rip it out and fix it. Don’t be afraid to put a new logic board in it, or replace some of the faders, or whatever. Learn your tools. You can help keep alive the old stuff, but then also understand the new stuff better when it comes out. The big thing is knowing why your equipment does what it does.”
By Rod Whitfield

Slipknot will be making a headline appearance alongside System Of A Down and Marilyn Manson at the freakin’ huge 2012 Soundwave Festival, as well as Sidewaves in Sydney and Melbourne.

February 25 – Soundwave, Brisbane QLD
February 26 – Soundwave, Sydney NSW
February 27 – Entertainment Centre, Sydney NSW
March 1 – Rod Laver Arena, Melbourne VIC
March 2 – Soundwave, Melbourne VIC
March 3 – Soundwave, Adelaide SA
March 5 – Soundwave, Perth WA

It’s become the most hackneyed of descriptors, but ‘mature’ is the word that comes to mind when listening to Arabia Mountain – the sixth full-length offering from firebrand Georgians Black Lips. Though their lyrical content still recounts more than a few hedonistic pursuits, their sonic qualities have well and truly evolved from their scrappy beginnings. Bassist Jared Swilley talks to us about that gradual maturation, working with UK super-producer Mark Ronson, and the aural distinction between theremins and saws.

It’s been nearly half a year since Arabia Mountain dropped, has your perception of the record changed at all since?
Not really, I mean I haven’t really listened to it since we finished recording it, but I’m still happy with it. I was happy with it when we finished.

Working with UK producer Mark Ronson was an interesting choice. How was the recording process?
It actually worked out really well. We worked together good. He liked the same recording techniques that we did which was like a lot of older equipment and analogue. I guess he was pretty minimal in his approach which is kind of the way we operate.  So, yeah, it was pretty smooth. We hit it off pretty well.

Mark famously abstained from using horns on his latest record, but I noticed a hint of brass of Arabia Mountain.
Well I don’t think he was going to use any horns, but the first song that was on the album had saxophones in it, and we did that a few months before we even knew he was going to work on the record – that was one of the ones we did out in California. Then the other song we had horns on, that was like me trying to bring it in; I think he was kind of trying to shy away from it. We wanted to get them on a few tracks because we felt it was kind of ironic or something.

There’s some weird tones throughout the record, plenty of theremin action.
Yeah it was all analogue and older stuff. We like the way the theremin sounds. Actually a lot of what sounds like it could be theremin were a saw, we had a saw player in there. I mean it sounds like a theremin but just a more organic theremin. We had a bunch of different people to bring theremins along with the saw player, all that kind of stuff, just to have fun and see what we could work with.

Black Lips have obviously come a long way in the past decade or so, how has your bass setup evolved?
I’ve played like a Hofner for the past five or six years. I go through those pretty fast cause they’re not really that well-made. The ones they make now — don’t know if they’re still made in Germany or not – they’re pretty cheap, so they’re easy to replace. For my bass amp I’ve always had like an Acoustic or an Ampeg — just really simple. I think bass just has one sound really. It either sounds crappy or it doesn’t.

You seem to share the songwriting load fairly evenly within the group, is it difficult to form a cohesive album?
Well, we always end up with a lot of songs and every time we record we have to whittle it down. Everybody generally has their own songs when they come in but everyone kind of helps out on them. Sometimes someone’s written every part to the song but sometimes it’s kind of open and so everyone kind of has their own take on it. So it all kind of evolves – usually when I bring my song in it starts out super basic, and then it kind of gets built up when everyone else adds their stuff. I guess sometimes our stuff ends up all over the place, but if we’re not happy, a lot of our stuff gets cut out.

When you first emerged you had the reputation of GG Allin-esque live shows. Have you toned it down over the years?
I guess there’s not a lot of stories about urination and all the stuff like that now – that’s not such a common occurrence. I mean the shows are still crazy and stuff but, you know, there’s not nudity and stuff like that.

Do you foresee a time when Black Lips won’t be singing about hedonism and the such?
I don’t know, I don’t think, collectively, we’d ever make a conscious decision to kind of do anything cause everyone kind of feels different about everything. But I don’t think there’s ever anything we would never not sing about – even if you don’t do that stuff anymore, you still have done it before.

You were last in Australia in 2010, looking forward to returning?
It’s always really fun when we go out. This time we get to do like a festival run and then clubs and touring over there always has a vacation quality to it – it’s always a lot of fun. And we always go when it’s cold over here so it’s like a summer holiday. But the shows are always super fun. This will be our third time coming and it’s always been a blast. I enjoy it a lot.

You were one of the first acts to release a full-length on Vice. What’s the relationship between the band and label like?
I guess really good and productive. We like them a lot and over the years we’ve had a really good relationship. I like their structure, cause they’re like a non-traditional media group at the same time so it’s kind of cool. I like the people there, they’re cool. And they have offices all over the world which makes travelling easier.

By Lachlan Kanoniuk

Black Lips will be touring this March alongside their appearance at Golden Plains Sixxx.

March 1 – Coolangatta Hotel, Coolangatta QLD
March 2– The Zoo, Brisbane QLD
March 4 – The Standard, Sydney NSW
March 7 – The Corner, Melbourne VIC
March 8 – The Bakery, Perth WA
March 10–12 – Golden Plains Sixxx, Meredith VIC

RAW POWER
The AE5400 is designed with the same large diaphragm element as the renown AT4050. The AT4050 is a classic and is a must for all project to professional studio. The AE5400, however, is a live microphone that has studio features and allows singers to reproduce the clarity and performance they get from a condenser mic from the studio to the stage. Basically it is a studio condenser packaged in a solid live mic style 18cm body with some awesome live features.

GENUINE CLASS
“What’s new in the LE” I hear you say? Well, the main inclusion in the LE model is a custom transformer that really warms up the sound. Audio Technica have packaged the LE in a super sleek matte silver body with blue accents and have etched a serial number on the body that screams class. Through in a wooden box and this limited edition is a truly special package to add to anyone’s mic arsenal.

NICE AND CRISP
We first tried the AE5400/LE on male backing vocals. It really stood up and provided solid clarity in the lower mids and a super flighty high end that rivals studio mics twice the price. The new output transformer really warms up the sound and in the digital recording world what is wrong with a little bit more analog transformer warmth. The 80Hz high pass filter was perfect for cutting out any unwanted noise and would be very useful in a live setting. Anything that allows the mixer to not touch the EQ is a good thing, right? We recorded a snare with an SM57 on the top and the AE5400/LE on the bottom. The AE540/LE’s –10dB switchable pad came in handy and gave us some extra freedom recording a loud source. Have no fear as the max SPL the AE5400/LE can handle is a huge 147dB. On female lead vocal it really shone. The transformer really warms up the lower mids and the clarity in the high end is something to behold. The high end is crisp and detailed with out being brittle and harsh. The vocalist was so impressed with how the AE5400LE captured and portrayed her vocals she did not want to part with it.

In the studio environment we used a pop filter however we quickly realised that the inbuilt windshield and filter are fantastic and would hold up to the rigors of live vocals as the AE5400 was intended. Plosives and sibilance are nulled and the high end is still clear. Phantom power is require with this baby so check with venues or get your own power. The AE5400/LE’s frequency response is 20Hz to 20,000Hz making it useful for many studio applications.

By Will Teasle

Price: RRP $595
Distributor: TAG
Phone: (02) 9519 0900
Website: www.tag.com.au

Few debut records have experienced the rapturous critical acclaim that San Francisco’s Girls achieved with 2009’s Album. Since then, the band have gone on to release the solid EP Broken Dreams Club, and last year’s triumphant Father, Son, Holy Ghost – topping many year-end lists in the process. Despite a relatively amorphous  lineup and an well-exmained harrowing  back story (which we won’t go into here), the band have steadily ascended to a rank worthy of a decent sized font on the recently unveiled Coachella lineup. We caught up with bassist and producer JR White before the band return to our shores for the incoming St. Jerome’s Laneway Festival.

Girls is always the core duo of yourself and Christopher Owens, what’s the full lineup you’ll be bringing to Australia like? Same as last tour?
Well it changes so much, so it’s not the same lineup as last time. We’ve been busy with rehearsals because we’re actually bringing a new drummer to Australia. It’s basically the same setup – two guitars, then there’s our new drummer Derek, and we have the keyboardist we had last time. We’ve been dealing with the drummer situation for the last week, so I’m not even entirely sure who else will be coming with us [laughs].

The new record has a far bigger sound, has it been a challenge translating that to the live environment?
The guy who played drums on the record came with us on the tour is really skilled and dynamic, that’s Dan Weiss [Evan’s brother], but he is no longer in the band. So trying to find someone to fill his space has been tough. I think we found someone now, that’s the main thing. We kind of went into that record and made it with people that we wanted to be in the band for the touring of this record and for the remainder of the band, if possible. But that did not happen [laughs]. It’s just been hard to find the right people, but up until now there hasn’t been a problem translating it.

What’s the creative partnership between yourself and Christopher like?
Everything’s going to be different in the future, because we used to live in the same house. I would hear him working through the walls, playing music, and he would play me stuff all the time. Now we don’t live at the same place, so I kind of have less contact with his working process while the songs are being written. But for Father, Son, Holy Ghost, a lot of the songs had been around for a while, and I’d heard him play them and help flesh them out a little bit. They’d already been developed from him playing guitar by himself, or through us talking and just playing a little bit into what they were before we went into the studio. We leave a little bit of it up to whatever inspiration we have while we’re in the studio. There’s a lot of room to deviate form what we’d done, trying to keep our ears open to new ideas while we’re in there. Even if I’d heard a song a million times when I was living with Christopher, he would still give me the demos on a CD, so I could come up with my own ideas and contributions – arrangement suggestions, if it needed a chorus, just the general layout of the songs. But for this [upcoming] record, I haven’t really heard much. I don’t know how much he’s been writing on tour.

The songs’ contents are usually fairly intimate and personal, how do you relate to the tracks as opposed to any other listener?
I usually know what they’re about. I know Chris, I know the past three records, I can figure out what the song is about, what part of his life it’s about. It’s funny, there are times when people say what they think a song is about and I’d correct them, and Chris would say, “Oh, you’re right.” I think we were so close working on the first few records, and at that time I was the best person to work with him because I knew where these songs were coming from, what their sentiment is. As a listener, you can relate to a song until it’s your thing, like the singer’s singing about your feelings – you connect with the band. But when I hear our stuff I know exactly what it’s about. I connect with the feeling, but I don’t think of it in those terms.

There’s a distinctive sound within Father, Son, Holy Ghost. What was the production process like?
It was a weird mish-mash. Chris sort of leaves the recording up to me – I have my own studio and stuff – but I don’t like recording in an actual studio. I just like finding an interesting room or house and just bringing in the stuff you need. Someone told me about this guy who had a studio in downtown LA who was starting to let people use it. He was a gear collector, so he had all this esoteric tube gear and this interesting mixing board from the ‘70s – just all this weird stuff. The studio was in a basement of this five storey office building downtown, this huge gutted concrete room with no natural light. I’d say it even sounded bad when I first walked in. But there was a bunch of stuff, a huge amount of amplifiers – more than you could imagine, more than any guitar store would have. There was this makeshift control room with this beautiful mixing board, all this old gear. I like situations that are a little out of the ordinary when recording, I like it when the environment gets onto the record. You can try to get it as clean and shiny as possible, but when you record in a room like that it’s going to be a little fucked up.

The record was co-produced with Doug Boehm. How did he come on board?
He was a guy that worked on a couple of records I liked, but also these higher budget radio rock records. I kind of wanted to mix those two things – getting this guy that can make things really shiny and put him in this studio that was a bit fucked up – and just seeing what would happen.

Doug’s worked with Aussie giants Powderfinger before, are you familiar with them?
They’re like the U2 of Australia, right?

I guess you could call them that.
[Laughs]

Girls perform alongside Yuck,  Total Control, DZ Deathrays and a whole heap more at the upcoming Laneway Festival, as well as select sideshows.

February 2 – Oxford Art Factory, Sydney NSW
February 4 – Laneway Festival, Melbourne VIC
February 5 – Laneway Festival, Sydney NSW
February 8 – The Corner, Melbourne VIC
February 10 – Laneway Festival, Adelaide SA
February 11 – Laneway Festival, Perth WA